________________
60
S. Ramaratnam
References to Prahasana are found in number of places other than the dasarupakadhyaya in the Natyasastra.
(1) utsṛstikankaprahasanabhäṇāstu karunahasyavismayapradhanatvät ranjaka rasapradhānāḥ1o; tata evätra strī-bālāḥ-mūrkḥādīḥ adhikari: na ca vitatam atretivṛttam. itivṛttivalcitryam api tatra nästi
The following characteristics of the Prahasana are revealed through this passage:
i. It is ranjakarasapradhana since hasya is its predominent sentiment. Consiquently women, children and the gullible are its chief enjoyers. ii. Simplicity and lack of variety in the plot.
(2) vith...
prahasanam dimaḥ kaikikivṛttihinäni rupanyetani kärayer.12
The Nataka and the Prakarana are purṇavṛttirûpakas ie., they have all the four vṛttis-bharati, satvati, kalsiki and arabhați. Prahasana along with the other rūpakas is devoid of Kaikikivṛtti.
(3) dvisandhi tu prahasanam vithyankau bhana ea ca mukha-nirvahane syātām teşām vṛttiśca bharati."
Prahasana should have only two sandhis-the mukha and the nirvahana." Bharati vrti shall be mainly employed in it.
natake saprakarane bhāne prahasane tatha mṛdangam paṇavam caiva dardaram caiva vädayet.14
Percussion instruments like mṛdanga, panava and dardara shall be played at the time of the performance of the Prahasana (and Nataka, Prakarana and Bhapa).
Dasarupaka devides Prahasana into three classes-addha, vikṛta and sankirna. Suddha is the same as in Natya Sastra. Vikṛta is the sankirna of Bharata. The sankirna of Dhananjaya is that which is mixed with the vithyangas.
10 But curiously enough Abhinava contradicts Bharata regarding Parhasana's rañjakaraspradhanatva.
evam rañjanapradhanena karupena yuktam rūpakam (utsṛṣṭikankam)
abhidhaya ranjanam häsyaprayam prahasnam lakṣayanti.
N. S. with Abhinavabhärati
G.O.S. sdn. II P. 447.
11 N,S. G.O.S, edn. Vol, II. p. 447.
12 N.S, Ch. xviii-7. G.O.S. edn.
Jain Education International
-
13 N.S.
14 N.S. G.O.S. edn., Vol. IV., Ch. xxviv SI 225 K M. xxxxiv 250-251
For Personal & Private Use Only
www.jainelibrary.org